EXCLUSIVE: Dreamworks Directors On How They Made ‘Bilby,’ And On The Studio’s New Shorts Program
Directors Pierre Perifel, Liron Topaz, and JP Sans reveal how working on the new Dreamworks short transformed them as filmmakers.
Ian Failes
How E.d. Films Is Using Real-time To Help Make Their Animated Films
A look at how e.d. films in Montreal has adopted the Unity game engine for animated filmmaking, and even developed its own real-time tools.
How Did They Actually Animate The ‘Hotel Transylvania 3’ Characters?
Animation supervisor Alan Hawkins shares animation secrets behind Blobby, Count Dracula’s bat transformations, and the Kraken.
‘Who Framed Roger Rabbit’ Hits 30: A Look Back At ILM’s Astonishing Old-School Optical VFX
Academy Award winner Ed Jones explains what it took to create “Who Framed Roger Rabbit” in the days before digital vfx.
French Studio TeamTO Built New Animation Software For Its Hyper-real Slapstick Series ‘Mighty Mike’
We preview “Mighty Mike,” a one-of-a-kind animated series coming soon to Cartoon Network France.
Exclusive: How Encyclopedia Pictura Made Their ‘DIY’ Minisodes, And Got Them Onto Cartoon Network
Cartoon Network’s new “DIY” miniseries is a quirky and inspiring experiment, both conceptually and production-wise.
Annecy: Google Spotlight Stories Releases ‘Piggy,’ A New Approach To VR Interaction
The latest Google Spotlight is as much experiment as short, pushing the limits of interaction between the viewer and character.
From Oriental Dreamworks To Pearl: Checking In With The New Chinese Studio
Pearl studio directors Glen Keane and Jill Culton will present more details about their projects at Annecy this week.
Could These Be The Next High-Tech Tools That Animators Use Daily?
The prestigious SIGGRAPH computer graphics conference will include several animation-related technical papers.
What You Need To Do To Make A Metal Character Like Colossus From ‘Deadpool 2’
How Framestore took facial and body mocap and made the metallic Colossus for “Deadpool 2.”
‘Solo: A Star Wars Story’: What You Need To Know About It
Read our quick primer on the latest “Star Wars” film: “Solo.”
How The Stand-Out Character in ‘Avengers: Infinity War’ Was Made By Two Separate Studios
Cartoon Brew spoke to Weta Digital and Digital Domain to find out how multiple studios working on the same vfx character can achieve a seamless performance.
What’s It Like To Work As A VFX Vendor On A Big Show Like Netflix’s ‘Lost In Space’?
An insight into Image Engine’s work as one of several vfx studios on the new Netflix series, “Lost in Space.”
How To Organize A Conference Track At An Animation Event
Cartoon Brew’s vfx editor explains how he put together a conference track with major animation directors at the upcoming FMX conference in Germany.
How ‘Ready Player One’ Combined Virtual Production And Motion Capture Tools To Create Digital Characters
A look at the steps involved in “Ready Player One”’s virtual production paradigm.
‘A Quiet Place’ VFX Supervisor Scott Farrar On How The Film’s CG Creatures Were Redesigned With Just Two Months To Go
A desire to make the alien creatures scarier led to the last minute redesign for ILM.
How The Mill Is Embracing Real-time For Character Animation
The Mill is developing new ways of creating relatable and appealing character animation in real-time.
Stop-Motion Cinematography: Q&A With ‘Isle of Dogs’ DOP Tristan Oliver
A look at all the intense work that went into the cinematography of Wes Anderson’s “Isle of Dogs,” before a single frame is ever animated.
‘Pacific Rim Uprising’: How Toys And Motion Capture Helped Bring Giant Robots To Life
Here’s what it took to animate the giant Jaeger robots in “Pacific Rim Uprising.”
‘Isle of Dogs’: Animation Director Mark Waring Explains How To Animate A Wes Anderson Film
“Isle of Dogs” animation director Mark Waring breaks down the animation process on Wes Anderson’s new stop-motion tale.
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